Nick Terry is a manager at World Builder Entertainment who specialize in developing eclectic film, television and animation content for his clients. He shares his views on the current state of the industry and advises screenwriters on progressing their careers.

The film & TV business has been in a state of turbulence since the Great Strike Of ’23. Have things finally settled down?

No, the dust hasn’t fully settled yet. While it may seem like we’re edging toward a sense of normalcy, the reality is that we’re still navigating the aftershocks. Ongoing negotiations, adjustments post-strike, unresolved issues, and residual tensions continue to ripple through the industry. The pandemic left a lasting mark, and when you factor in the economic challenges—rising inflation, interest rates, and the global impact of the conflict in Ukraine—it’s clear we’re still in the thick of it. The high cost of living in California and New York is pushing talent out of these key hubs, adding another layer of complexity.

Studios are cautious right now. We’re seeing fewer TV pilots picked up, guest star roles downgraded to co-star levels, and writers’ rooms that are a shadow of their former size. Showrunners are locking in their picks before we even have a chance to submit talent, and when we do, it’s in a pool of thousands. Even no brainer packages are being turned down. I’m talking big IPs are getting a pass before the bosses hear them. It’s really remarkable how things continue to change from the old way of doing business. 

And then there is downsizing and restructuring. Every time there’s a lull in layoffs, another wave hits — which means people are being overworked and things pile up or go unanswered. 

The pandemic accelerated the shift to streaming, but as audiences return to their pre-pandemic routines, that boom is cooling off, forcing studios and streaming services to rethink their content strategies. The focus is shifting to high-quality productions that can truly stand out in this crowded marketplace.

Hollywood has a history of resilience — adapting to technological shifts, economic swings, and changing audience tastes. But “this” moment, challenging as it is, is another chapter in that history. At World Builder, we’re leaning into this period of transformation. We’re exploring new business models and embracing the opportunity to evolve. We believe that by doing so, we position ourselves and our clients — writers, directors, and actors — for success in what will undoubtedly be a reimagined industry landscape. And if my stubbornness can adapt, anyone can. 

What should screenwriters be doing to navigate the business and stay active and grounded?

Set realistic expectations! Cliché Alert: success (in this industry) is a marathon, not a sprint — it takes time, perseverance, and a thick skin. Don’t let setbacks or slow progress derail you. Setting goals is essential, but deadlines are even more crucial. When you start working with an agent, manager, or producer, make sure you have clear and realistic expectations and goals from the outset. This helps manage the ups and downs that come with the territory. It’s important that you don’t sit around waiting for the phone to ring or your email to buzz. Stay creative. 

Also, remember what I said, that this industry is in a constant state of evolution. Be open to learning new skills, adjusting your approach, and staying adaptable. 

A quick side note — be selective about the writing competitions you enter. Focus on the major ones that have a strong track record of opening doors. I recommend sticking to the Nicholl Fellowship, Screencraft, Sundance Writers Lab, Austin Film Festival, HollyShorts, and Final Draft Big Break. CoverFly, ISA Fast Track, and Launch Pad also do a solid job for writers looking to get noticed. Before you spend a dime on something, asks your peers if said opportunity helped them at all. 

Are you seeing any trends in terms of what content the industry wants more or less of?

It’s easy to just say IP, but that’s not the whole picture. What’s clear is that, I think (I hope) studios are recognizing the ongoing demand for authentic representation across race, gender, sexual orientation, and ability. Audiences want to see themselves reflected on screen, but it needs to be done organically — nobody wants it forced. Stories that offer diverse perspectives and experiences are definitely in demand.

I’m also seeing a trend towards genre-bending content — the lines between genres are blurring, and that’s exciting. Bold, original ideas that grab attention and spark curiosity are highly sought after. Hits like Squid Game or Everything Everywhere All at Once. It might take more time and effort to get these kinds of projects off the ground, but I’m optimistic. There’s always going to be a need for content that can spawn sequels, spin-offs, and merchandise, but it’s the fresh, unexpected stories that really make an impact. If you have something Universal or Disney can put in their parks, please, email me!

Global audiences are another major focus — content from different cultures and languages, like Parasite or Lupin is increasingly in demand. And, of course, stories that tackle current social issues and spark important conversations are resonating — content that reflects the zeitgeist.

While it’s true that there’s been a wave of reboots and remakes, it’s clear there is a growing weariness towards recycled content. Nostalgia is powerful, but it’s not enough. Audiences are craving originality — no more formulaic storytelling. Predictable plots and tired tropes are feeling stale. What really stands out now are scripts that subvert expectations, challenge conventions, and focus on well-developed, relatable characters. That’s where the real connection happens, and that’s what keeps audiences engaged. 

Are there any noteworthy trends in how screenplays are currently written – e.g. unusual format or page counts?

I’m not seeing any major shifts in how screenplays are being written right now. On social media, you hear a lot of talk about ‘the rules’ — but honestly, those “rules” are more like guidelines. The basics still apply: don’t write a novel, avoid directing on the page, proper formatting and don’t stress about using voiceover if it serves the story.

To your question, there aren’t any groundbreaking trends emerging, though I wish there were. One script that stood out to me was A Quiet Place. The writers used bold text for certain words, which might sound simple, but it made those lines hit harder. It engaged me on a different level, pulling me right into the story. The use of bold text wasn’t just a gimmick — it made sense, especially in a script where action speaks louder than words, literally.

On a similar note, my client JT Mollner’s script Strange Darling was written out of sequence. Obviously he’s not the first to do this. And if another person calls it “Tarantinoesque,” as if he invented it, I might blow a gasket. But out of order was not used as a trick, but because that’s how the story naturally came to him. The non-linear structure added depth to the film. My advice? Don’t try to reinvent the wheel just to stand out. If a technique serves a purpose and enhances the story, go for it. Please, just avoid gimmicks — they rarely hold up under scrutiny.

Where do you see additional non-traditional opportunities for film and TV writers?

That’s a tough question, but I do see some emerging and non-traditional opportunities for screenwriters that are worth exploring. The video game industry is always booming and isn’t showing any signs of slowing down. There’s a growing demand for writers who can craft immersive storylines, compelling characters, and interactive dialogue that draws players in.

Social media platforms like YouTube, TikTok, and Instagram are (sadly?) not going anywhere. If I were a screenwriter, I’d be looking to collaborate with content creators on these platforms. There’s a real need for strong writing to elevate digital content and reach wider audiences.

Podcasts are another area where writers can shine. The demand for scripted podcasts and audio dramas is on the rise, offering a unique format to tell stories. Beyond that, live events and immersive experiences are becoming more popular, and they require skilled storytellers to create impactful narratives.

Educational content is another avenue that’s expanding, especially as online learning continues to grow. And, of course, I always encourage writers to learn filmmaking. There’s nothing like getting behind the camera and shooting something yourself. It’s a great way to bring your vision to life and gain a deeper understanding of the production process.

What’s the worst advice you’ve read for screenwriters?

1. Relying on friends and family to give you productive notes.
2. Telling someone that so-and-so loves the script.
3. Only having one or two screenplays in your tool kit.
4. You need to register everything you write with the WGA. 
5. Send a potential agent or manager a long email, that includes who has read it, how much it can be made for and anything other than the log line and major awards its won.

What’s the best career advice you can offer for novice and experienced writers?

For novice writers, dedicate time to write consistently, even if it’s just a little each day. Make it a habit — it’s the only way to grow as a writer. Read a wide range of screenplays, not just within your chosen genre. Analyze the techniques, styles, and storytelling methods used by others to expand your creative toolkit. Developing a thick skin is crucial —rejection is part of the journey, so don’t let setbacks define you. Learn from them, revise your work, and keep pushing forward.

And one more thing, don’t be in such a hurry to sign with an agent or manager. It’s tempting to rush into representation, but it’s more important to focus on honing your craft first. The right partnership will come at the right time, but only when you’re truly ready. Building a solid foundation as a writer—understanding your voice, your strengths, and your unique perspective — is essential. Authenticity in your work will attract the right opportunities. So, take your time, trust the process, and let your writing speak for itself.

For experienced writers, challenge yourself to step outside your comfort zone. Experiment with new genres, formats, or narrative techniques — never stop evolving. Continue learning and refining your craft. Relationships are key in this industry, so cultivate and nurture connections with other professionals. Also, explore alternative revenue streams like freelance writing, teaching, or consulting to diversify your income. Above all, stay resilient. The industry is unpredictable, and resilience is crucial to navigating its challenges, setbacks, and shifts.

And for both novice and experienced writers, if I could give just one piece of advice, write what YOU believe in. Authenticity is what sets your work apart.

Where do you think the business might be in five and ten years time?

Predicting where the business will be in five or ten years is always tricky — as the William Goldman saying goes, nobody knows anything in this town. But here’s what I’m keeping an eye on:

In five years I expect streaming platform competition to escalate, likely leading to more mergers and acquisitions. We’ll probably see fewer but larger players dominating the market. AI and data will increasingly dictate what you’re shown, and most viewers will go along with it. We might even see the incorporation of interactive elements, where viewers can influence the narrative — something that could change how we engage with content.

In ten years the sheer abundance of content will lead to further audience fragmentation. Niche platforms catering to specific interests will emerge, creating a more personalized viewing experience. AI will play a significant role in content creation, starting with storyboarding and eventually extending into screenwriting and even tv and film production. We’ll also see a greater influx of direct-to-consumer models, as traditional linear TV continues to decline. I don’t want to jinx it but I don’t see how cinemas stay in business either.

Ultimately, while the landscape will change, the need for great storytelling and compelling characters will remain constant. It’s about staying adaptable and embracing the opportunities that come with these shifts.

What films or TV shows do you wish you could have been involved in?

• Only Murders in the Building – it was a unique plot device mixed with fun writing, fantastic main and supporting characters, a wonderful setting, and great performances.
• Terrifier franchise – It came out of nowhere and is oddly comforting to me. Halloween is a national holiday in my family, and the look of it just ignites a sense of nostalgia for me. It’s heavy, I know, but Art just disrupted us. 
• A Quiet Place franchise – Another unique plot device that I think lends itself to several sequels, prequels and a rabbit hole of (conspiracy type) films.